Zane is an absolute blast, whether doing a little dance or trying to steal his way into each character's soul, he's having too much fun.

It's rarely funny when it's supposed to be, and often unintentionally hilarious when it's not. But to be fair, that's not all de Sauza's fault. Some of the dialogue might have been funny had the punchlines not been botched by Van Damme's awkward accent and flat delivery.

Despite the editing flaws, and the weaker aspects of Branagh's performance and direction, Mary Shelley's Frankenstein is one of the better adaptations of the original, nearly 200-year-old story.

Tombstone is incredibly entertaining. While not entirely original and not always well executed, it manages to keep your attention for the entire 130-minute duration. And let's face it, Val Kilmer as Doc Holliday is what really sets it apart.

It's quite possibly the greatest Batman movie ever.

The classic humor of this film still remains.

Carlito's Way, like Casualties of War and Mission: Impossible, seems to stand at a nexus between commercial fealty and directorial idiosyncrasy; it's a sort of half-breed film that exudes personal vision but functions satisfactorily for the multiplex crowds at the same time.

The script – which revolves around a serial killer and explores the idea of traumas both mental and physical – isn't particularly strong, but the direction is, as always, first-rate.

Based on a true story, the whole thing is a sloppy mess of football wishes and caveat dreams that will forever be remembered, but never watched in just one sitting.

Willis and Parker are fine in their respective roles, but neither character is given much spark. Willis sulks for most of the picture, grimacing at his enemies and drinking his way through scenes.

The movie is frantic in fits and starts, but still remarkably tedious for such a slapstick comedy. It expends an astounding amount of time and energy setting up both its jokes and physical comedy routines, many of which are tired, watered-down iterations of material done better by Sellers.

At the end of the day, the movie works. It's funny, it's charming, it's sweet – all elements that make it a more accessible comedy than Meyers' later work, which is generally aimed to a more specific audience. It's certainly worth rewatching and holds up well to retrospect, and while it might not be the laugh-a-minute spoof that was the original Austin Powers, it's an amusing – and at times hilarious – look back at the beginning of one comedian's superstar career.

Men in Tights does work more often than not, even if the jokes are a little cheaper than normal.

Super Mario Bros. has a solid cast of characters who are thrust into a psychedelic smattering of scenes hastily glued together in nearly offensively stupid ways, but it’s also strangely ambitious at times.

Sliver is a godawful movie - not worth a wank, much less a watch.

This is a movie for anyone who has ever loved baseball and for anyone who enjoys the American Graffiti/Stand by Me style of narrative. Highly recommended.

If you love Christmas movies, and especially if you have some young family members you wish to share your holiday with, you can't go wrong with The Muppet Christmas Carol.

Curse you and your vile coma-inducing powers, Jennifer 8!

Crowe is magnificent as Hando, the leader of the gang whose decisions land them all in hot water and Daniel Pollock (who killed himself during post production) is right there with him. It's a tragic, harrowing little film.

Many smaller details also hit home, and though it certainly is exaggerated all over the place, the film is dead on and plays even better now than in '92.

Lethal Weapon 3 picks up where Lethal Weapon 2 left off, with the same gags and tough-guy dialogue but things are starting to wear a bit thin.

Vastly entertaining, but like Porco aiming for the ethereal stream of planes above the clouds, never quite reaching its profound goals.

Towards the end of the ride you are ready to get off... but if ride films are your thing, you'll be surprised at how much you enjoy this, even if you don't remember much about it afterwards.

The problem is – the film plays more like a brainstorm exercise than a feature length film. There are gobs of great ideas here, but none of them connect in the way fans likely wanted.

Two Evil Eyes is a flawed project. Romero's segment doesn't pull its own weight. While it is creepy in spots, the majority of the story is overlong and ho-hum in the execution. On the other hand, Argento's entry is strong work that clearly demonstrates a love for Poe's writing. It's not your typical Argento, but many of the standard elements that make the director's work so beautiful and compelling are present here.

Not exactly Errol Flynn, but not the embarrassment that was Disney's Robin Hood, Prince of Thieves is a fun popcorn flick take on the centuries-old legend. And hey, it does have a great cameo by a former Robin Hood as the best King Richard ever.

Misery offers a first-rate Hitchcockian thriller filled with amazing performances, solid direction and masterful writing.

There are a couple of entertaining action sequences, including the climactic battle between the cop and the Predator. The special effects, all shot on film, and the makeup effects, are top-notch for the time they appeared, so as a historical record the movie is interesting. But it just doesn't have enough meat to sate a hungry hunter.